The clay-caked hair at Alexander Wang (see below) was met with mixed reviews, but we imagine no one was more against the style than hairstylist Paul Hanlon, who was charged with coiffing duty at Altuzarra, which followed Wang’s show by three hours. The good folks at Redken were courteous enough to give Hanlon a heads-up about their handiwork, so a washing station was set up at Milk Studios to rinse the chalky mess out of models’ tresses before he got started. But ironically, Hanlon’s first order of business once the girls were washed was to put more streaks in their hair. Prepping strands with generous spritzes of TIGI Catwalk Sleek Mystique Look-Lock Hairspray, he brushed hair away from the hairline and flat-ironed saturated sections for a sticky fibrous effect before backcombing for texture. Then came the streaking. “We always wanted to use a fluoro paint in the hair to match the belts,” Hanlon said of the neon flashes he was adding to the girls’ heads in neon yellow, orange, red, green blue, or purple. “It’s like raver on the beach,” he surmised of the style, which retained a chicness, he noted, to compliment Altuzzarra’s precise tailoring. Makeup artist Tom Pecheux saw Hanlon’s “raver on the beach” and raised him an “Amazon tribal woman—in a very sophisticated way, of course.” Eschewing concealer and mascara altogether, and opting for only a dollop of foundation, Pecheux’s main objective was contouring. Using MAC Cosmetics’ Sculpt and Shape Powders in Shadester, Definitive, and Sculpt, the face painter blended lines up across the temples and on the cheekbones before brushing the same pigment combination onto the lip for uniformity. It was an easily duplicate-able look, as was the coif, surprisingly. A few words to the wise, though, about playing with fluorescent hair paint: According to Hanlon, blondes should veer toward the cooler end of the color spectrum. Most water-based gels wash out completely, but red and orange shades may leave a tint in flaxen locks, while greens and blues will actually help tone it.